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CLOSE-UPS of the
Dy HENRY
,IV Z" -MM - .-v; -
The Peppy Little Grand Old Man of the Movies
,' A 6K nlmoft any fan who the "grnnd old man" of the screen h and the answer
will be wroiiff. Out of n tlinttoand proplo probably half would name Theodore
Roberts nnd tllp other half William KrrRtixnn. -
But there Is one film actor, not so prominent, perhaps, but quite well known
to all of you, who was an experienced profeeilmial entertainer when Itobcrto and
Ferguson were In swntlillliiR ctothee. And yet today he does not look nor act
say older than his younger colleague.
You'd be dimply astonished if you could see and hear this peppy old
fellow at work in a big hcene in n studio. You wouldn't believe that he had
passed his eightieth birthday. ITc looks and sounds fit and ready to lick his
weight In postage stamps.
One day last week I was watching a dramatic scene being filmed in the big
Fox studios In New York. The actors and directors were having a hard tlmo
paying attention to their work because of a lusty voice that came shouting down
from the far end of the Immense studio and. in spite of the huge dimensions of
the place, simply tilled every nook and corner nnd rcverbeiotcd until you couldn't
bear yourself think.
The emotional scene hnd to he stopped for a while. The director cussed under
his breath, waved his hands hopeless! tow aril that far corner from which the
voice came and snt down to wait until the uoie subsided.
And still the leather-lunged eluip at the end shunted. "One seventy-five I
am bid one seventy-five once twice three times and gone to the old party
with the long white Mhlskcis."
FROM the sound of the voice, I judged thnt the actor mutt be some
husky young chap with n deep elicit and nil the energy of youth
exploding through hit throat. I walked over to the set from ichich it
came and found Diicclor Ilariy Millnrdr uidering hit rroirif to rehearse
the scene again. And I discovered thnt the auctioneer trilh the locomo
tive voice was none other than eighty-year -young "Dad" Evans.
LAST time I saw Dad he uas out at IteUwond. He used to play the countrj
Btorc-kecper In some of the early Tmincrvillc Trolley comedies. He's a little
bit of n chop, only five feet two inches tnll and weighing 111) pounds and no
ounces even after Thanksgiving dinner.
He gravitated over to New York nnd joined the Fox forces and now they
wouldn't let him go in spite of the scrapes he manages to get himself into.
Dad is inimitable In his particular stjle of rustic character work. He looks
like a miniature edition of 1'ncle Snin. with long, white hnlr and a long white
tuft of chin whisker and both hair and chin whisker go to lied and get up with
blm. He didn't buj them in a store; they grew just where they are now.
The scrapes lie gets himself into are due mostly to the fact that it makes
him fighting mad to be treated like an old mun and talked to as though he
couldn't "come back."
Not long ago Charles .1. Hrabin hnd just started a special production called
"Footfalls." Dad was engaged for an important comedy country character. He
worked two dnys, but on the third tnomitig he wn missing.
The scene could not go on and Hrabin sent mi nsstnnt to the phone to call
up Dad's house. There it was learned he had been arrested the night before and
was in a police station The station was reached and the desk sergeant was
Induced to let the old man come to the phone.
'What's the matter with ou7" the assistant director inquired.
"Oh, just got pinched for fighting," replied Dad. "It won't amount to
much."
. ' "Fighting? What for?"
"Oh, a conductor got too fresh and 1 had to whale h out of him. He
i out in n little while."
And he was. That afternoon he showed up at the studio owing he would
let no tin-horn sport put an thing over on him.
DUT sometimes he is the deipair of dircctori. In this present picture.
in ichich he plays a country auc'ionccr, it t' perfectly ukcIcis to aik
him to tone dotrn hii voice so that the people at the other end of the
Studio can go on irith their emotional drama. Tone dotcn? Xo, sir:
, not for Dad. He's playing an auctioneer, and teho ever heard of a
country auctioneer teho teas toned doicnt
m
IN "FOOTFALLS" he had a dance to do in the shop of a blind cobbler
Several other men also danced to entertain the cobbler. In the picture the
dog of the blind man is supposed to be jealous, and runs out and bites the legs
of the merry-makers.
Every one of them stopped short when the dog began snapping nt their
boWri every one except Dad.
"Let 'lm come, let 'ini come," he yelled at the dog's trainer, who was
trying to call it back. "I never did see a dog, horse or woman who could
frighten me," nnd he never stopped until the scene was "shot."
Another time Dad was watching Richard Stanton direct "Thunderclap," a
picture in which Mary Carr, of "Over the Hill" fame, is to be seen in the
autumn. Stanton discovered that the interior of an icebox he was filming was
entirely empty and did not look natural.
"Get some hams and stick them in that icebox," shouted Stanton.
TAD turned and surveyed a group of actors irho irere standing near.
Y "Xow folks," he called, "you heard what Mr. Stanton wants in the
ieebor. Why don't you voluntccrt"
Conway Tearle's New Lead
lIDUIh UK.NVON
Doris Ken on has been engaged by
Belzuick for the role of Dnroth .tor
daiu In tlie Conwav Tearie picture.
"Shadows of the Sea," that has just
gone Into woik.
SIlss Ken nu has been starred In
Erattlcnllv every picture m which she
08 previnusly appeared.
She was lending woman in "The
Traveling Salesman." in "On Trial"
and In "The Hidden Hand." The
Whartons presented her as star of
The (ireat White Trail" nnd then
aho was starred by Del.uxe I'lctureH
In "The Stieet of Seven Stars" and
"Twilight." Her latest presentations
have been the Deltrick-Heck produe
tlons, "The Hand Hox" and "The
Harvest. Moon."
Monroe Salisbury Heads Company
After a long term of innctlvitv, Mon
roe Salisbury will star hiiuclf In a
new 'picture to b.. produced by his own
company. The plav will have a Spanish
letting, and Salisbury's representative
Is now in Mexico gathering data.
Westerns to Be Made In East
Through (leorge L. Clarke, Marie
Edith Wells and William Jones have
been cast to appear in a series of
two reel Westerns which will be mndo
la the Kast.
I ft ,aj
I lib, .fli
'$H?Aiithor Spends Time In Studio
: .Kutlert Hushes spent vieht out of the
J . ..'1at twelve months at tha Goldwvn stu-
ii' !'.t.,'i. :,... ,-.,. . i.jt. .
. , HiM-M uuuer iuy, siuoying every ue -
Ulty;nyi8n-picture production,
w
TTie D aily Movie Magazine
MOVIE GAME
SI. NEELY
WOULD YOU WHIP
YOUR HUSBAND IF
HE WERE A BRUTE?
J
l"ST how far Is the primitive cave-
woman, justified in asserting itself?
Should a wife ever beat her luisb.iti'l
provided slio is clever enough to
' overpower and render him helpless?
Women are writing from ever where
to Pauline Frederick about her picture
"The Sting of the Lash. In this
film. Miss Frederick plays the part of
a woman who hnrsevviups n worthless
husband when she hfts finali reached
the limit of endurance.
. The beating is n very real affair, too.
When it was over Miss Frederick was
exhausted anil Clvde Fillmore, who
nlnvs the worthless husband, had great
red welts op his back.
Miss Frederick has been very deeply
touched by some of the letters received.
The reveal co poignantly the vast
number of patient, plodding women
who. vear after venr. hnve htrMm Mmlr
hcai inches and the crushing of their I
Ionclest ideals umler a smiling face.
TIIH following letter is a typical one
received from n woman In Arizona.
, "While 'The Sting of the Lash' was
hcing shown I crept in. I'll never for
j get It Vm are going light to the
I heal t of so mnny women who have gone
j through the -tunc tiling. I lived with
ni mislmnd six years. Whisk was his
god. On the sixth anniversary of our
wedding day he mine home ns Joel
Cant did. I didn't thrash him. al
though I wish now I had hnd the
stiength to do so, as it would have
taught him the lesson he needed. As
it was, I just took my baby girl and
walked out.
"This happened seven years ago.
I've had a pretty hard struggle, but it's
been worth it. Miss Frederick, I used
to pray that my husband would see a
picture like ours, hoping it would turn
him.
"If onlv one man sees the error of
his wii.vs through jour wonderful ear
nestness it's worth all your suffering
Isn't it? A good cry helps me and I
certainlj got that watching you you
poor thing! When you bathed him
after thrashing blm I Just couldn't wait
to see the end.
"flood luck, God bless you and a long
nnd happy life to you. Mrs. M."
Gernnhty'a Work Mapped Out
The last innii to leave the Famous
I'lnyers Kastern studios, which close
tomorrow, will be Tom Geraghty,
supervising director. Hefore going to
Los Angeles he will complete the cut
ting nnd titling of several produc
tions completed recently Among
these are
"I.Vin1l.kt " r'lir.r,,' IH,.l,u"
"rr""'"'.. h"''' ""
i ana "i'eier luueison. xius win Keep
' Geraghty in the East until-early fall.
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The
LOVE STORY
MOVIE STAR
CHAPTER XXVII
"mHINK a bit," she urged. "Alma
J- Audrey." She repeated the name
slow ly.
Then I remembered. It nil enmo
back to ue in a flash. It was the
day I had come over to see Holnnd
from Heavi r Face, and hnd disturbed
ami Interrupted his scene. And thl
woman, this Miss Audrej, st.iring at
ne now resentfully, had been acting
with him. And, even then, her ejes
had darted lint red I
"Yes." I snid a little sharply, "I
do remember you. What Is it?"
"Oh, ho!" she laughed exactly as
If she wre playing a part In a ( heap
iiie.iiilramn : "to you nnd Uoland "
"If that's whj jou came here," I
broke in, "vou may just as well go."
"May I? Not so quickly. He be
longs to me, He'.s mine. You see, I
just got hack from California, this morn
inr; but tse whole studio is t.ilklng
I'out it. The nerve of you, butting In
like this!"
The panther In me rose. I remem
ber my arms stiffening out, mv hands
elixwhiiif- mv feet rljjni rllmof mi
tiptoe. I hate to think what I might '
have done!
"See here, now!" she burst out
"Do you know whnt kind of u man
lie Is, anyhow?"
"Will you plnnsc leave this room?"
I asked, with n fori ed enlmn-'ss.
She rose slovvij . SI e even came n
step nearer.
"Will you please read this btter''"
She echoed m' tnno of voice pre
cisely. Her outstretched hnnd held a
letter.
Thnt saved her, doubtless. letter:
I hnd a moment of weakness, an ex
cellent moment let re hope. I ouid
not forbear the opportunity : ar.d ns she
continued to hold out her hand stlfllv
I took the document from her.
Slow! I unfolded the paper. Never
did I spp words more clenrly. Never
did word? mean less to me! Hut everv
word was brai'ded on my mind, every
word of love: every betrayal of owner
ship in one another!
I folded up the letter carefully and
handed it buck to her.
"What of It?" I asked.
"This!" Her laugh was hard and
cold. "He belongs to me, nnd I am
ffnlnir to keen him. Keep out of this.
if vou know what's good for you!"
"Leave this room!" I said, taking
a step toward her.
She grew pale; faltered, fumbled,
turned nnd moved away.
"T.pnin this room!" I repented.
With a frightened lurch she opened
the door, went out, and slnmmed It
flhllt
I followed her to the door nnd turned
tin- Wev in tile lock.
Then I sank to the floor in n wild
abandon of terrible grief, shame and
humiliation. Hut I saw the truth
clearly. And memories Hooded my
mind : the way Roland had met me when
I first enme to New York; his excuses
for not taking me on nt thnt time. I
nw now, and I understood. It was
because Doll-Face was in the way! And
then his sending me to n man like
Heaver -Face! And then, the dnv ho
was so pitiably confused because Miss
Audrey stood behind him !
At one blow my faith in llfo, in
love and in myself was destroyed. All
was lost. The wreck was complete.
I pulled some paper toward me; I
took a pencil and I wrote a short note
to Roland Welles,
That nlcht I found m.Tbelf without
a job again; And what future -now? My-
IS A WOMAN EVER JUSTIFIED'IN WHIPPING HER HUSBAND?
This Is How the Story Begins:
ltiELLA MORELAXD, most famous
1' of screen stars, hears that a
young girl, Annette Wilkinson, has
fallen in love ictth Uoland Welles, an
idol of the screen. Miss Moreland,
to save Annette, icritcs the story of
her own tragic love affair tcith
Welles, intending to send it to
Annette so she may know the kind
of man he is. ,
She tells hote, while a pianist in
a movie theatre in a Wrsmi Penn
sylvania town, she met Welles when
he made a "personal appraance"
there, how he invited her to come to
Xew York and said he would place
her inthc movies, how she tame and
the chilly reception which he yave her
in the studio. Then, becoming inter
ested in her, he gets her a job in o
small town stock company for the
experience, promising to see hir
often.
Kitty, a member of the company,
prates her best friend, but the man
ager, whom she nicknames "Heaver
face," becomes obnoxious with his
attentions. She threatens him with
a revolver, leaves the company and
goes to .Veto York to find work.
Now Go On With the Story
only friend. Roland, wns mine no
onger. Mhcre else could I get work
in the city.' And what did I care? 1
did not care whether I lived or iHe.l !
Jet. secretly oh, the shame of it!
I waited tho next day for Itnlnnd to
come to me. I waited all thnt dnv. I
waited nil the next da. And the
next! And the only hope left wns thut
finally he would come !
.Tnlr IB
I am writing these lines among the
rocks on the const of Maine. I'iuIpp
me the blue sea Is rising and breaking
nnd a great sen gale fluttering my paper,
cuffing the high, clover-fragrant grass
nil nlmut me, nnd streaming through
my long hair. The sun Is brilliant to
day and the hnrlron clrnr. I ought to
be very happy, hut I am not. Mv feel
ing of bereavement Is such thnt' I can
only write, write!
Our company Is up here tnklng some
sen pictures. II has been wonder
fully kind nnd attentive to me: like a
sensitive and watchful father. Ills re
serve is astounding. I enn see how
much he loves me. Rut he Is wiso
enough to see how I nm strucgllng with
this civil wnr within me. Hear. dar
II . If you cannot mnke me happy,
who can?
Todnj, In this hard, clear, blue
weather, I think of the autumn on the
cliffs opposite New York, nnd the placid
pool, and the leaning maple, nnd Ro
land, and the kiss. Hut my mind goes
on nnd on, re-living the dnrk struggle
that followed niter r lert the x
Studio.
There Is a sickness called "broken
heart." Just what It has to do with
that throbbing bird caught In the breast
I do not know. Hroken heart, is It?
I should say broken life. I should say
broken faith, broken nmhltlnn. hroken
Joy! It is n sort of living denth, In
which all hns tiled except yinrnlng, nnd
memory, nnd pain. I hnd thnt sick
ness.
Its first effect was to numb me. I
did not care what happened to me. I
wns listless nnd silent. Mechnnica Iv
lust to keep myself alive. I went arouur
to the different studios nnd tried to get
work. Often I would wait by the hour.
Hut nothing came of it. My nnme was
still virtually unknown. Hcsldcs, I wns
too careless to make any appeal.
Heyond keeping myself nent, I had
no Interest In how I looked. I no
longer asked myself which of ny dresses
was most becoming. I could not rouse
myself to add any of thoso little co
quettish touches to my tollot which 1
come nntural to any woman who wish 's
to please. There was only one person
in the world whom 1 wished to please.
And he 1
To Be Costumed--Tomorrow. ..
FIRST DIRECTOR TO
USE A BALLOON
IN MOVIE WORK
MARSHALL N F I L A N
"Mickey" proves thnt
nllas
Horatio
Alger's works were not all fiction.
Ten .venrs ago "Mickey" was enrning
$15 per week filling in ns "atmosphere"
in n San Francisco stock company.
Today he Is at the head of a company
which turns out n product grossing
)?2,000,000 n year.
For the Information of tho Income
tax collector and all his cousins, wo
wish to explain that this, of course, does
not mean thnt "Mickey" is getting this
amount every yenr to buy .vachts, fast
automobiles and countr estates with.
Rather, it represents the total earn
ings on Ills pictures, in which his dis
tributors bhare on the profits.
N';,','
EILAN is one of the few directors
the business credited ns being
a "consistent producer." in other
words, n producer of pictures thnt the
public favors. In two jcars he has not
mnde n failure.
"Mickey" is constantl.v introducing
nniv Tiintlimla in mnt inn - lilcl urn iirmlim.
tlon. For Instance, he is the first ill-
, rector to use n dirigible "blimp" as a
1 minora platform to "shoot" big scenes.
He is the first person to use an airplane
in searching for "locations." Recently
he introduced the use of sailors to wlg
wng his dliections to distant camera
men In filming battle scenes. At pres
ent ho is working on "Hits of Life,"
it stor.v offering the combined efforts of
four noted authors.
Marshall Nvilan has just reached his
thirtieth birthday. Prior to his fame
as a diiector he ployed opposite such
stars as Mary IMckford, Rlnnche Sweet,
Ruth Roland and others of similar
prominence.
Among the recent Neilnn successes
are "Hob Ilainpfon of Placer,"
"Dlnty," "Go nnd Get It" and "The
River's End."
And further to prove that "Mickey"
is n Horatio Alger type, oung Neilan,
at the ago of fourteen, sold newspapers
on Market street, ban tranclsco.
Vacationing in FAirope
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KIsic FereiiMin has called for Kurnpc
for n holiday, hnvlng finished her
scenes in "l'eter Ibbeton," in which
..lie,.co.sUrg..wUh Wallace Held -
T
JOEL CUNT'S wife (Pauline
Frederick) was a high-spirited, suc
cessful, independent woman before she
mnrried Joel (Clyde Fillmore).
Hut his dissolute wavs. hin disregard
I for the laws of Rcrvlce and reward, his
evil tendencies, dragged them down the
scale until Mrs. Gant was forced to
become n public laundress a servnnt to
those women who had before occupied
n lower plncc In the sociol scalo than
she. until
I Her spirit rebelled nnd she turned
upon him with the tury of a tigress de
fending its young.
Then she meted out to him nrimltive
unlshment he felt the sting of the
across his shouldcm an she hnd
felt the degradation and shnme and
humiliation he had forced upon her.
Was she justified? Is a wife ever
justified in such a course?
Special Cast Engaged-
for Morosco Picture
WITn the nddition of the nnme of
Edwin Steveni to the list of prin
cipals it is nnnounced that the cast for
Oliver Morosco's second picture,
"Slippy McGee." Is complete. Stevens
Is cast in the role of the "heavy" in
the Marie Conway Oemlcr story.
Colleen Moore, who has become one
of the most sought-nftcr leading women
in the country, has arrived In Los An
geles from New York, where she Just
finished "The Lotus Eoter" with John
Hnrrymore. SIlss Moore, who has been
borrowed from Marshall Ncilnn for this
story, will appear in the leading fem
inine role.
Wheeler Oakman will appear In the
title role. Pat O'Mnllcy Is cast in the
juvenile role of the fighting young
Inwj er.
John Elliott, who nppeared as the
priest in the stnee production here of
"Slippy McCJee," will again wear the
robes in the picturlzation and Charles
hvans, the before -prohibition mnjor in
the stage play, has been recast in his
old part.
Sforosco, who went n-borrowlng tojjet
the exact cast he wanted, obtained Edith
Yorke from the luce Studio. The other
names in this hand-picked enst are Tom
liuise, Alfred Allen, I.loyd Whitlock
and Nellie Peck Saunders.
All the Plckfords Working
The entire IMckford family is en
rolled in film-making. Mary work
ing in "Llttlp Lord Fnuntlcroy," Jack
Is stnrting "A Tailor-Made Man" and
Lottie has a film called "She Must Pay"
coming on the market via Pathc re
lease. '
niOToriYS
MllTIHlATi,
TMkll
. COMPANY r
orAMimcA
ADni 1 C MD THOMPSON 8Tw
JACKIE COOGAN
In "PECK'S HAD HOY"
A Dr AHI A CHESTNUT Dl. K
AKL.AU 1 A jo A. M. to 11:18 P.
lorn
u.
HPKriAlj I'AhT in ..
"THE GREAT LOVER"
A CTTlO FRANKLIN k 01RAIID XtL
A3 1 yJt MATINKB DAIIT
MAKSIIAM. NKII.AN'H PKOIIUCTION
"Bob Hampton of Placer"
BALTIMOREAaso310
HOBART BOSWORTH
In "HIS OWN I.AVT' .
nCMM nTH AND WOODI.AND AVB.
ETHEL CLAYTON
In "SHAM"
DI T TtTDtDr Droail 4 8mjuehnn
DL.vJC.DlIM-' Pnnilmmus 2 until 11
I)K MIl.I.K'ft
"What Every Woman Knows"
n A PITVM T22 MARKET ST.
L.Arl 1 UL 10 A it to 11:1(1 P t
wm.MM 'r M.t.v. pnnnrrTMN
"THE LOST ROMANCE"
COLONIAL G,nv,S. WTp.aiT
WALLACE REID
In "TOO MICH Hl'KKH"
DARBY THEATRE
MARY MILES MINTER
In "ATX HOt'I.'H P.VK"
n"lADDE"CQ MAIN AT., MAWAYUNK
C.lVlrrI100 MATINFF DAII.T
DOUGLAS MacLEAN
In "THK HOMK qTRKTCH"
rTAMll V THEATRE IStl Mark.l Ot.
I MIV1IL. I s , M TO 'iiiiNlQHT
MARION DAVIES
In "lll'RIKU Tltr.SI'KK"
56TH ST. THBAT5i'A7,nv'
Hpruc
TlAILY
MARY MILES MINTER
In "HA1.I.V HHOWH THE WAV'
FRANKFORD 4m "YSST
MARY PICKFORD
In "TIIEUIVK MOIIT"
GLOBE
ai01 MAHKI7P HT.
' V riffi 11 an 11
MAY ALL1SUIN
In "THE MAItll'AdK OK WILLIAM AHIIK"
P.RANJT 0M a'KAD ave.
'Jrw-U" 1 MATINEE IJAIMT
amKMoWrs..
HARRY MYEkS HAS
MORE TO TELL
ABOUT "OLD DAYS"
VOr fonp fl0o too printed some inter
IV csllna reminiscences of th old Lubln
studio days in this city, written by
Harry Myers, who plays onposite Hebe
Daniels in her current reledsc, "The
March Hare," and who has scored a
personal triumph in Fox's "Connecti
cut Yankee in King Arthur's Court,"
notyet teen here.
Wc promised that we would give
some more of Mr. Myers' memories. Jit
has just sent them to us and here
they are:
A
T TUB time when the ploy "Salva
tion Nell" wns nulte in vogue
some one said ho could "visualize" me
as an cxptrt crook, and to prove that
he possessed a certain amount of
creative ability, borrowed a large por
tion of "Salvation Nell," changed tho
central character nnd wrote a scenario
which wns called "Throe-Fingered
Jack."
Wo finished this nnd the same scen
ario writer, seized with a desire to im
mortalize the poor American Indian in
the flickers, concocted a .script entitled
"Red Engle'a Love Affair."
At that time it was customary for
the film company to go over to the
Rcdmcn to borrow costumes for tho In
dian stuff. Rut I had a number of
Remington's drawings nt home nnd I
studied these. I mnde the pnrt up like
a real Indlnn, used real eagle feathers
fcr the headdress when previously tur
key feathers were considered sufficient
and ns I had a pair of genuine Indian
moccasins on tho wall of my don, I
shook the dust out of them nnd wore
them, nnd from n pair of army blankets
I made the breeches.
In thoso days when ,the movies were
cutting their milk teeth we used to use
wooden cigars and never had a real
lamp. Wc were doing n picture called
"Over the Wire," in which one of the
chief "props" was a lamp. Hut whnt
they furnished was a piece of board
sith n button on the back of it painted
like a lamp.
In 'the action I got up out of bed and,
not knowing the business, I turned tnc
lamp sideways.
"Darn you," I snid, "why can't you
hiivo a rcgulnr lamp?" Rut they said
the glass was so thick it would never
photograph. Another argument which
ended like the aforementioned ono and
found me going out to the flve-nnd-tcn-cent
store and coming back with a glim
mer. IF YOU sat at a desk in the early
days it was a desk painted on a tint
piece of scenery no desk at all. You
hod a kitchen chnir, never an office
chair, because, they said, "Wo don't
show that pnrt of the picture."
You never thought of going nut to
"location" in nn automobile. We got
made up at the studio nnd took the
trolley car; then we were fuu for the
natives.
I went to Kellyvllle the first time for
a wedding scene. Wc got the priest to
open one of the side doors of his church
and the bridal party filed out. There
was a lapse of time in the picture and
wc hnd to change costumes. Some
changed back of the columns or behind
the church, but I drew the chicken coop
and put my clothes on in there nfter I
got the chickens out.
I had a silk hat and three brand new
tailored suits all at once. Thnt was
one of the principal things thnt helped
mnke me a juvenile lead I bad so
much wardrobe.
After dressing in the chicken coop I
forgot to duck beneath the door and
smashed my silk hat. I went over and
kicked to the director about it and he
promised to buy me a new one. He
never did.
At first I never could understand the
pictures. It was nothing for me to
wnlk out of the scene. I always have
taken very long steps. This was nn
asset in pictures, as it gave me slow
action, but I didn't know that, and
when I took a step 1 walked right out
of the camera.
AT THE old Lubln studio the placo
was no larger than the average
room. The first time I noticed a big
change was when somebody wrecked a
house in Philadelphia nnd Lubln bought
the old doors nnd we started to get
awny from the canvas door and the
cloth scenery.
We had lights that caught fire every
ten or fifteen minutes. They would
Ignite In the middle of a scene. We'd
get the extinguishers, help put the fire
out and then go bade to wort. Hut
when we moved to Lubin'a new studio,
in came Cooper Hewitt lights, and we
worked on a solid lloor, whero the
camera was steady. That was a big
step in those days.
At first the dressing rooms were just
like Enstern Fcaslde bath houses three
walls of canvas bet against one of the
PIIOTOriAYB
The following theatres obtain their pictures through the
STANLEY Company of America, which is a guarantee of
early showing of the finest productions. Ask for the theatre
in your locality obtaining pictures through the Stanley
Company of America.
GREAT NORTHERN WWffi
BERT LYTELL
In "A MKSHAOK FROM MAnfV
IMPPR1AI BOTH & WALNUT BTS.
ilVircrl-Vl, Mati. 2:30. Evi. 7 A3
jamf.8 nmitwonn In
"Bob Hampton of Placer"
I frieri Pnl-r Oerraantown Are. anil
L.ei:ign raiace ihih Avnu
WII'MAM DE MirXK'B PROIU'CTION
"What Every Woman Knows"
F I RPR TV UROAU A COLUMBIA AV.
"IJJI-ilN 1 1 MATINKR DAILY
BERT LYTELL
In "A MKHHAdi; FROM MARS"
OVERBROOK030 ,IttSmD
ELLIOTT DEXTER
In "THK WITCIHNO IIOl'll"
PAI APP 121 MARKET 8TREBJT
1 -1AVC in A f In 11 -IB P. M
THOMAS MEIGHAN
In "WHITE AMI l'NMARRIKI"
PRllMPP? 1018 MARKET 8TREBTT
I lliIVl3.3 .,"W M i n-15 p. M.
WANDA HAWLEY
In "HER FIRST F.l.OI'KMKNT"
IXEAjCIN 1 0:4s A M, to 11 P. M.
.KVKI. CURMFy In
"THE SILVER LINING"
RIAI TO OKRMANTOWV AVENUB
MADGE KENNEDY
In "THE TRITH"
RIIRY MARKET BT. I1ELOW 7TTJ
ALICE LAKE
In "THE OBKATKR CLAIM"
SAVOY :aH itAHKOT BTREET
"GIPSY BLOOD"
HTAHIHNH I'OI A XKOIH
SHERWOOD At SrvWi'd
THOMAS II. INVK-s PHonrriVoN
"MOTHER O' MINE"
STANLEY "ATtKBT AT 10TII
V.u . ..V."n A " o 11 IB P. M.
II-TL Hii "'AnA.MOFNT P'CTIRK
"The Woman God Changed"
STANTON, 4A,(K,rr AtrcvniTfTl
Z . .. ''10:1R A M In limp U.
PAULINE FREDERICK
ln."UOMH O V DESTINY '
333 MARKETTTiVW
THOMAS MEIGHAN
In "THE CITV OF Ml.F.VT MEN"
VldORlA J,AI,.,UiT T. Ab. 0TH
"THE VOICE INhTHE DARK"
I Back Home in fesTWB
TOSI Mix
2?fi VJS 5S J!M Ltf ".! .1
Rhirt and dinner mnt X...1 i..'.M
Innir troll tnr th. w... .,."" "1
strenuous weeks in
. .
iew Yoric.
inside walls. No ton. The light vv-i.
usua ly hung over in back of you you
"!!'?' "e.Ln ,hc mlrror-- I alwifl
"""" '"' ,"" nEW .mms, a stand ' -light,
my own soap and n n ce ml ' .
with mo. Naturally I was con.Td,2S A
n not uown there. J
And, too, about thnt time, being, u
I was, a lending man, I thought I
ought to have an automobile, so IsnolJ
to Lubln. 1U"
"What?" he exclaimed, thunder.
b nick. "An actor with an nutorn"-
'H nn,JlAftte ,I.t0,(1 hIn I could t j'j
one for SoOO nnd ho told me to go ahead i
and make arrangements, so I bouiht '
a second-hand car that had belonged f'
to a brewer, who thought It was too '
fast. It was forty horsepower. c
Yil'.'i Kot, ,he car l tol'l I'Ubln I
eouldjn't afford to pay tho ?500 on $75
a week, so ho raised mo to a hundred l
and I was the first lending man la nle.
turcs to have an automobile and such 1 .
fabulous salary.
1 '
TF AN actor leaves pictures it li V -J-
almost as difficult nowadays for him
to get bnck in them ns it wns for him
originally to make the grade. For In. '
stance, after I left Lubln I went to
Universal nnd made a long series of
comedies ns the co-star of Rosemary
Thcby. W hen that contract expired I
took out a vaudeville skit. wl,. -
finally closed I thought I wanted to
go bnck on the screen, so I moved mi
effects to Los Angeles. 1
Rut I found I weighed 206. Brerr1'
time Id go out saying I was a leading
man the studio officials would look at
my avoirdupois and Bay I was a char
acter mnn. I mnde a test for Beanie
Hnrrlscnle to play a middle-aged
"heuvy."
"lie is only a young fellow made
up," said the director but they gave
me the job. ,
When I went over to the Charles
Rny studio for n pnrt in "Forty-fire
Minutes From Rroadway," they told '
me to take off my hat and nsked me
If I had any hair on my head. I hare
nnd when they saw it some one re- '
marked : i
"He is fine for the fight scene; hit
hnir'll go all .over his face."
When an agent told me to go after
tho "Connecticut Ynnkp" nnrt K.
Fox people thought I was too fat. l'l
went into training and lost ten poundi.
nnd went back. Then they thoueht I
looked too sophisticated. I made about
n dozen tests nnd finally three or four '
days Inter Eramett Flynn. the director,'
cnllcd me on the phone. It was twenty
minutes to 11.
"Can you be over at the studio at 11 '
o'clock?" he inquired.
"You tell the world!" I said. And
nt 11 I was over there, had bad a bath. 1
was all dressed up.
After that test I went down town ;
and bought $900 worth of wardrobe for
the part and I didn't know I had the
job yet!
' 1
Seena Owan Returns to Screen ,
Sccna Owen, who played the leading' '
role of "Tho Woman God Clinnged,"
hns been engnged to play a landing role ,
In "Find the Worann," from the story
by Arthur Somcrs Roche. Miss Owen .
hns just recovered from inflnmmatlon of
the eyes caused by long work In front
of powerful lights In connection with
"Hnck Pay," in which she takes tie
leading role.
pnPTOTLAYH
HOTO-PUy?
COMMNT r .
-OrAMtlMA
O
The NIXON-NIRDLINCER
fit
THEATRES
BELMONT 62D tWsiSS??!!
ELAINE HAMMERSTEIN
In "POOH, DEAR MABOARET IUBDY"
rTHAD "0T1I 4 CEDAR AVBNlffl
LtUAK , ;3n t 3 n so to M P.
EUGENE O'BRIEN
In "IlROAnWAY AND HOME"
COLISEUM "''V-ioftJI!
.IUIV1DU jumt,o June, on Frankfort jr
JANB NOVAK nnd JACK LIV'?""0'' u '
"THE GILDED TRAIL"
LEADER "BTA,Tt,gSLTV
ELSIE FERGUSON j
In "SACKED AND PROFANE LOVg (
r nn irr locuht-douw bjj
LULUO I MltI j :30t a 30, ev. a so w
Harold Lloyd, 'Among Those ?nttt,V
PAUI.INK ntiaiKKICK In ''HALVAOK
STRAND o&SoSSnt,
WALLACE REID
In "TOO MI'CII HI'Ki:i"
at otwpr THEATRES
MEMBERS OF M.P.T.OA
Germantown matinek da"-J r"
ALU8TAR CAST In 1. '. iI"FTn8 ,
"UKtAM airuit.
JEFFERSON "l
1IOHART IIOSWORTII n.l I"?i7cc
"THE FOOLISH WIVES
DADL niDOE AVE. Wlllf
SSjiif iS&iter-",
' U Bl. b All'l
vif;t ai irgheny "";,:u.-p?l
ALL-STAR CABTIn
"NOT GUILTY"
j
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